Reviews

Liars

Chris Bailey
Liars

Liars

City: Chicago
Venue: Logan Square Auditorium
Date: 2004-03-20

Liars

Photo credit: Danielle Levitt
In case you haven't heard, Angus Andrew wants to be a horse. Some people may have tried to convince you that it's a put-on, but I assure you, it's true. Allow me to explain. Andrew is frontman for Liars, those self-consciously arty New Yorkers who became everyone's favorite post-punk/post-funk band with the 2001 release of their debut album They Threw Us All in a Trench and Stuck a Monument on Top. Seemingly uncomfortable with the album's modest indie success (it's not like it went triple-platinum, people), Andrew and Liars musical mastermind Aaron Hemphill enlisted a new drummer, called up producer/all-around-badass David Sitek, and recorded the most divisive album in recent memory, this year's They Were Wrong, So We Drowned. Hemphill and Andrew brought the noisy sounds of the new album with them to Chicago's Logan Square Auditorium, an upstairs venue that's only recently started putting on shows, acting as a satellite for the Empty Bottle. It's a suspiciously upscale space (especially for the neighborhood): shiny hardwood floors, chandeliers, high ceilings, a balcony. It's the type of place you'd have a Rotary Club breakfast, not a rock show. I love it. It's a somewhat weird venue, and Liars took the stage in a weird way. Hemphill came out, looking shy and deferential, and waved bashfully to the crowd as he picked up his guitar. Then Julian Gross, the new drummer, came out in a black mesh top and a short sequined skirt. The crowd cheered, even as they winced. Gross and Hemphill started hammering out "Hold Hands and It Will Happen Anyway". After several minutes, Andrew pranced onto the stage, with feathered black gloves and a tiger tail attached to his standard indie outfit. He struck some animal kingdom poses before removing the gloves and proceeding to r-o-c-k. And that's just it with Liars, really. Some critics will get hung up on the tiger tail or the sequined skirt and laud them or condemn them right there. Of course, it's the band's own fault. Liars are "arty" for the sake of being arty, and there's no surer way to draw critical wrath, whether it's in the clothes or the music. But as I watched Andrew circle Gross' neck with the mic, chanting "choke, choke, the devil we invoke," establishing the new material's witchcraft motif, I realized that, hey, this isn't all that different from the 2001 Liars everyone knew and loved. It's rock music -- drenched in noise and fright and chanting, but rock music nonetheless. Isn't that what everyone loved about They Threw Us All in a Trench? Oh, and don't listen to all those critics lamenting the loss of bassist Pat Noeker and drummer Ron Albertson. Those guys were funky, yes, but make no mistake, Julian Gross can lay it down, even while being pushed or strangled by Andrew. In fact, those drums were the only thing holding a lot of the songs together live, as Hemphill played with feedback and Andrew pranced. It's also good to see how little we critics affect a band's reception. The crowd at this show was just as big, drugged-up, and scary as when I saw Liars a year and a half ago. Liars went through pretty much every song on the new album (you weren't expecting them to play "Mr. Your on Fire Mr." were you? That's sooo 2001), closing with "They Don't Want Your Corn, They Want Your Children". This song saw Andrew picking up a bass and gave us the night's most straight-forward punk/funk moment. After both Andrew and Gross had left the stage, Hemphill stayed, making me laugh as he placed his guitar next to the amp, then meticulously took down every mic on stage and pointed them at it. So, really, why does everybody gotta hate on Liars? I know, they are intentionally trying to be difficult. And their weirdness can definitely seem suspiciously over-constructed. I'll tell you this, though: I don't care how planned out it is, Angus Andrew is one scary motherfucker on stage. He's a maniacal, strutting, marching, shouting, chanting, choking spider who makes my flight instinct kick in like no frontman I've seen. In a much-maligned lyric from "Broken Witch", he proclaims that "I no longer want to be a man / I want to be a horse." Feel free to roll your eyes if you want, but believe me, the man's not playin'. He's just crazy enough. He wants to be a horse. And I, for one, am not going to risk telling him that he can't.

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.


60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

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Music

The Best Dance Tracks of 2017

Photo: Murielle Victorine Scherre (Courtesy of Big Beat Press)

From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

In June of 2016, prolific producer Diplo lambasted the world of DJ's in an interview with Billboard, stating that EDM was dying. Coincidentally enough, the article's contents went viral and made their way into Vice Media's electronic music and culture channel Thump, which closed its doors after four years this summer amid company-wide layoffs. Months earlier, electronic music giant SFX Entertainment filed bankruptcy and reemerged as Lifestyle, Inc., shunning the term "EDM".

So here we are at the end of 2017, and the internet is still a flurry with articles declaring that Electronic Dance Music is rotting from the inside out and DJ culture is dying on the vine, devoured by corporate greed. That might all well be the case, but electronic music isn't disappearing into the night without a fight as witnessed by the endless parade of emerging artists on the scene, the rise of North America's first Electro Parade in Montréal, and the inaugural Electronic Music Awards in Los Angeles this past September.

For every insipid, automaton disc jockey-producer, there are innovative minds like Anna Lunoe, Four Tet, and the Black Madonna, whose eclectic, infectious sets display impeccable taste, a wealth of knowledge, and boundless creativity. Over the past few years, many underground artists have been thrust into the mainstream spotlight and lost the je ne sais quoi that made them unique. Regardless, there will always be new musicians, producers, singers, and visionaries to replace them, those who bring something novel to the table or tip a hat to their predecessors in a way that steps beyond homage and exhilarates as it did decades before.

As electronic music continues to evolve and its endless sub-genres continue to expand, so do fickle tastes, and preferences become more and more subjective with a seemingly endless list of artists to sift through. With so much music to digest, its no wonder that many artists remain under the radar. This list hopes to remedy that injustice and celebrate tracks both indie and mainstream. From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

10. Moullinex - “Work It Out (feat. Fritz Helder)”

Taken from Portuguese producer, DJ, and multi-instrumentalist Luis Clara Gomes' third album Hypersex, "Work It Out" like all of its surrounding companions is a self-proclaimed, "collective love letter to club culture, and a celebration of love, inclusion and difference." Dance music has always seemingly been a safe haven for "misfits" standing on the edge of the mainstream, and while EDM manufactured sheen might have taken the piss out of the scene, Hypersex still revels in that defiant, yet warm and inviting attitude.

Like a cheeky homage to Rick James and the late, great High Priest of Pop, Prince, this delectably filthy, sexually charged track with its nasty, funk-drenched bass line, couldn't have found a more flawless messenger than former Azari & III member Fritz Helder. As the radiant, gender-fluid artist sings, "you better work your shit out", this album highlight becomes an anthem for all those who refuse to bow down to BS. Without any accompanying visuals, the track is electro-funk perfection, but the video, with its ruby-red, penile glitter canon, kicks the whole thing up a notch.

9. Touch Sensitive - “Veronica”

The neon-streaked days of roller rinks and turtlenecks, leg warmers and popped polo collars have come and gone, but you wouldn't think so listening to Michael "Touch Sensitive" Di Francesco's dazzling debut Visions. The Sydney-based DJ/producer's long-awaited LP and its lead single "Lay Down", which shot to the top of the Hype Machine charts, are as retro-gazing as they are distinctly modern, with nods to everything from nu disco to slo-mo house.

Featuring a sample lifted from 90s DJ and producer Paul Johnson's "So Much (So Much Mix)," the New Jack-kissed "Veronica" owns the dance floor. While the conversational interplay between the sexed-up couple is anything but profound, there is no denying its charms, however laughably awkward. While not everything on Visions is as instantly arresting, it is a testament to Di Francesco's talents that everything old sounds so damn fresh again.

8. Gourmet - “Delicious”

Neither Gourmet's defiantly eccentric, nine-track debut Cashmere, nor its subsequent singles, "There You Go" or "Yellow" gave any indication that the South African purveyor of "spaghetti pop" would drop one of the year's sassiest club tracks, but there you have it. The Cape Town-based artist, part of oil-slick, independent label 1991's diminutive roster, flagrantly disregards expectation on his latest outing, channeling the Scissor Sisters at their most gloriously bitchy best, Ratchet-era Shamir, and the shimmering dance-pop of UK singer-producer Joe Flory, aka Amateur Best.

With an amusingly detached delivery that rivals Ben Stein's droning roll call in Ferris Bueller's Day Off , he sings "I just want to dance, and fuck, and fly, and try, and fail, and try again…hold up," against a squelchy bass line and stabbing synths. When the percussive noise of what sounds like a triangle dinner bell appears within the mix, one can't help but think that Gourmet is simply winking at his audience, as if to say, "dinner is served."

7. Pouvoir Magique - “Chalawan”

Like a psychoactive ayahuasca brew, the intoxicating "shamanic techno" of Parisian duo Pouvoir Magique's LP Disparition, is an exhilarating trip into unfamiliar territory. Formed in November of 2011, "Magic Power" is the musical project of Clément Vincent and Bertrand Cerruti, who over the years, have cleverly merged several millennia of songs from around the world with 21st-century beats and widescreen electro textures. Lest ye be worried, this is anything but Deep Forest.

In the spring of 2013, Pouvoir Magique co-founded the "Mawimbi" collective, a project designed to unite African musical heritage with contemporary soundscapes, and released two EPs. Within days of launching their label Musiques de Sphères, the duo's studio was burglarized and a hard drive with six years of painstakingly curated material had vanished. After tracking down demos they shared with friends before their final stages of completion, Clément and Bertrand reconstructed an album of 12 tracks.

Unfinished though they might be, each song is a marvelous thing to behold. Their stunning 2016 single "Eclipse," with its cinematic video, might have been one of the most immediate songs on the record, but it's the pulsing "Chalawan," with its guttural howls, fluttering flute-like passages, and driving, hypnotic beats that truly mesmerizes.

6. Purple Disco Machine - “Body Funk” & “Devil In Me” (TIE)

Whenever a bevy of guest artists appears on a debut record, it's often best to approach the project with caution. 85% of the time, the collaborative partners either overshadow the proceedings or detract from the vision of the musician whose name is emblazoned across the top of the LP. There are, however, pleasant exceptions to the rule and Tino Piontek's Soulmatic is one of the year's most delightfully cohesive offerings. The Dresden-born Deep Funk innovator, aka Purple Disco Machine, has risen to international status since 2009, releasing one spectacular track and remix after another. It should go without saying that this long-awaited collection, featuring everyone from Kool Keith to Faithless and Boris D'lugosch, is ripe with memorable highlights.

The saucy, soaring "Mistress" shines a spotlight on the stellar pipes of "UK soul hurricane" Hannah Williams. While it might be a crowning moment within the set, its the strutting discofied "Body Funk", and the album's first single, "Devil In Me", that linger long after the record has stopped spinning. The former track with its camptastic fusion of '80s Sylvester gone 1940s military march, and the latter anthem, a soulful stunner that samples the 1968 Stax hit "Private Number", and features the vocal talents of Duane Harden and Joe Killington, feels like an unearthed classic. Without a doubt, the German DJ's debut is one of the best dance records of the year.

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